Fennesz venice


1. Rivers of Sand
2. Château Rouge
3. City of Light
4. Onsra
5. Circassian
6. Onsay
7. The Other Face
8. Transit
9. The Point of it All
10. Laguna
11. Asusu
12. The Stone of Impermanence

More about: Fennesz

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Venice 's quality extends beyond its sound. Touch proprietor Jon Wozencroft-- through his breathtaking design and photography-- continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect. More importantly, the music is of a high standard. One thing that is made clear by Venice is that Fennesz is a composer who spends as much or more time crafting melodies and chords as he does searching for the perfect texture. He works regularly with improvisers, but his records under his own name could not be more orderly, with discrete sections carefully structured to maximize their emotional impact. (The symphonic nature of last year's Live in Japan is strongly present here.) Thanks in part to that emotional heft, I have a feeling that long after many of the experimental electronic records from the past ten years disappear, we'll continue to reach for the works of Fennesz.

Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analog electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where their previous releases featured extended vocal workouts from Haino, his vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O’Rourke or Ambarchi taking the lead role as often as Haino does. The four pieces presented here each focus on extended development.

Music For A Film That Never Was is a multi-sensory exploration into the world of film, music and art that gives a glimpse into the rich creative minds of some of the world’s finest musicians and composers.


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